悲剧的诞生The Birth Of Tragedy 第88期:走向毁灭的第一步
What is the view taken of the chorus in this new Socratic optimistic stage world, and of the entire musical and Dionysian foundation of tragedy?
They are seen as accidental features, as reminders of the origin of tragedy, which can well be dispensed with--while we have in fact come to understand that the chorus is the cause of tragedy and the tragic spirit.
歌队本来是偶然产生的东西，是悲剧起源所残留的一种早已 无用的迹象；况且我们已经知道，歌队只能被理解为悲剧和一般悲壮因素的成因。Already in Sophocles we find some embarrassment with regard to the chorus, which suggests that the Dionysian floor of tragedy is beginning to give way.
关于歌队的难题，早已在索福克勒斯的作品中表现出来：——一个重要的迹象是在他的剧中，悲剧的醉境基础已经开始崩溃了。
Sophocles no longer dares to give the chorus the major role in the tragedy but treats it as almost on the same footing as the actors, as though it had been raised from the orchestra onto the scene.
他再不敢信托歌队来负担戏曲效果的主要任务；反之，他限制它的活动范围，以致歌队几乎与演员处于同等地位，By so doing he necessarily destroyed its meaning, despite Aristotle's endorsement of this conception of the chorus.
假若把它从舞池提升到舞台上，因此它的特性当然完全被破坏了，This shift in attitude, which Sophocles displayed not only in practice but also, we are told, in theory, was the first step toward the total disintegration of the chorus: a process whose rapid phases we can follow in Euripides, Agathon, and the New Comedy.
虽则亚里士多德还是赞同这样处理歌队。歌队地位的改变，索福克勒斯无论如何是以实践来支持的，而且据说甚至以一篇论文来推荐。这就是歌队走向毁灭的第一步，毁灭的各个阶段以惊人的速度相继而来，从欧里庇德斯，阿伽同直到新喜剧。Optimistic dialectics took up the whip of its syllogisms and drove music out of tragedy.
乐观主义的辩证法以三段论的鞭策把音乐驱逐出悲剧之外，It entirely destroyed the meaning of tragedy--which can be interpreted only as a concrete manifestation of Dionysian conditions, music made visible, an ecstatic dream world.
也就是说，它破坏了悲剧的本质，因为悲剧只能被解释为醉境心情的表现和图解，为音乐的具体象征，为醉境陶醉中的梦境世界。
